BarRi er kult
The Range of Propaganda
BarRi er kult / The Range Of Propaganda chapter 1: an introduction
it seems like a paradox to consider the mysterious and cloaked Deer Man Of Dark Woods as “well-known”, but he’s often considered the face of the globally popular and equally feared Barrier Kult Horde. D.M.O.D.W. first emerged on the pages of Concrete in Issue 98 of 2009 to explain the BA.KU movement, and his personal mandate (check out the feature online at concreteskateboarding.com/?p=766). The magazine was eventually granted an exclusive cover shoot with Deer Man nocturnally skating a barrier in the west coast forest landscape for the retrospective 100th Issue. The Barrier Kult has undoubtedly swelled in its official membership over time, and this segmented feature will profile a different BA.KU entity in each issue throughout the year. But first, an official introduction… —Frank Daniello
The Barrier Kult has been approached for a Canadian propaganda program that is insured to promote blackened terror – something from the snow-filled range of epic visage after the Kult has been risen, fallen, then risen again through the hills and the mountains of the interior, and thus powerfully falling into the ocean abyssal plain. The horrific adventure tales of writer Algernon Blackwood are pontificated through the language of BA.KU as the kult reaches the mountains of violence and secure obsession. Again, as the Kult now reaches the ocean and its coastal depth, the knife violence of barrier scraping has begun to be looked at from the ocean – the rock faces that stretch into the abyss that acts as the stage for the Kulting members as they watch the barriers of ritual magic act as voyages of ascension. The verse above signifies the tangible dark arts that BA.KU has manifested through the concrete scraping and blood scraping knife violence of obsessive and militant jersey barrier skateboarding (or “knife stabbing” – as Kultists title the act of violent barrier skateboarding now and forever). From the fire swept, rock and witches wood of the British Columbian Interior has come the very early days of BA.KU. Select members that began the militance via barrier violence; the “shallow end of a pool” that is ready-made and common. The Interior B.C. originators of the violent plague – Depth Leviathan Dweller (named after Ogopogo, shark, and ocean depth obsession), Deer Man Of Dark Woods (named from the awe and fear promoted from the dark Okanagan woods), Vlad Mountain Impaler (named after the violence stemming from the snow-covered black Interior mountains of the Kootenay region, and the acts of Dracul in those hills and then to the ocean-side).
D.M.O.D.W. - transfer photo judah oakes
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Algernon Blackwood (1869-1951) = a writer from England, and one of the most prolific in the ghost story genre’s history. Knife = skateboard Violence = the act of a skateboard hitting and ascending a tight (“violent”) transition. Violent plague = BA.KU’s dark propaganda machine. Ogopogo = a serpent-like creature that allegedly dwells in the Okanagan Lake of British Columbia. It’s also referred to in Salish as Naitaka (lake demon) by the area’s First Nations people. Seylynn = a North Vancouver snakerun built in 1978; it stands as the oldest active concrete park in Canada. China Creek = an East Vancouver concrete tub and teacup
built in 1979.
BA.KU online = thebarrierkult.blogspot.com Altars = barriers; the chosen obstacles of worship.
These three ritual Kultists made the wooded trek westward through the ranges of awe and madness to fall upon the health and bloodlines of the Lower Mainland in the late 1990s and early 2000s. echoed by the live influence of the Northern Okanagan’s “Dead Men” and already possessed by the ’80s cult of black-and-white Skull Skates worship – the diehard, the horse, the upper-section Seylynn rituals, and China Creek violence – The founding Barrier Kult members slowly built a mandate of followers after early print manifestos and militant barrier knife scraping through the dark areas of Vancouver. These fellow Kultists also follow the themes of tight transition violence via barrier skateboarding – ascension through skateboarding deconstruction, and the death of the creative “self”. The blood scraping and pacts were built upon the mania and the dark arts of barrier knife culture obsession. BA.KU has now constructed a group – a mastery of plague-ridden individuals – sick from the militance and the starving dark rich rainforest soil majesty of the Vancouver mountain realm. These titled Kultists of the B.C. Lower Mainland (that again, feature the epic horror visage of the mountains, and horrific darkness of the oceans) are Black Glove Of Internal Combustion, Hammerer Of Roots, Muskellunge Of Dark Island, Vertical Cliffs Of Eastern Shores, Black Plague Flock Herder, Finger Pointing To Oblivion, Statue Of The Black Crow, Crusade Templar Horse Skeleton, and Beast Of Gevaudan. With this opportunity to spread further paper image and text-plague madness, the Barrier Kult will be writing verses of propaganda in chapters to cover the whole violent capacity and characters of plague that knife stab the tight transition altars. They shall be exposed to the Canadian readers in repeated verse ritual. —Depth Leviathan Dweller
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top row [left to right]: Statue of the Black Crow / Vlad Mountain Impaler / Deer Man of Dark Woods / Black Glove of Internal Combustion / Muskellunge of Dark Island / Hammerer of Roots / Beast of Gevaudan front row [left to right]: Finger Pointing to Oblivion / Depth Leviathan Dweller / Black Plague Flock Herder missing from photo: Crusade Templar Horse Skeleton / Vertical Cliffs of the Eastern Shores
photo dylan doubt
BarRi er kult / The Range Of Propaganda chapter 2: muskellunge of dark island photos dylan doubt
the mask-donning and mysterious barrier-altar worshippers, better known to all as The Barrier Kult, now exist in fear-inspiring numbers within their principal region of British Columbia. As part of the original trio of ritual Kultists – which includes Deer Man Of Dark Woods and Vlad Mountain Impaler – the Depth Leviathan Dweller described the group’s expansion as “a mastery of plague-ridden individuals” in the first Chapter of BA.KU’s propaganda efforts, which can be found in the 111th Issue of Concrete. This time around he tells the harrowing tale of the lake and river dweller from Northern B.C.’s Interior, the Kultist known as Muskellunge Of Dark Island. —Frank Daniello
portaging his canoe through the haunted lakebeds of ghost-ridden sturgeon and gravel sediment before paddling the rivers of northern British Columbia for many years, Muskellunge Of Dark Island eventually approached the southern Interior and ended his pagan journey in Vancouver – the area of Barrier Kult violence. Unlike the Beast Of Gevaudan’s journey from the hills into the vice-ridden streets of inner France’s towns and cities, Muskellunge Of Dark Island delved into the haunted centres of the Northern Canada wilderness, amongst its riverbed plants and roots that act as rotted arms to shadow one’s self within – to create an island as phantom as the water wilderness. Deer Man Of Dark Woods haunted the trees and dirt of the dry Interior, the witch’s wood, while Muskellunge Of Dark Island dwelled in and upon the rivers and lakes of the northern B.C. Interior, which represent ominous areas of lore and nature’s procurement of the darker realms of the hidden lakesides. Muskellunge Of Dark Island takes his dark phantom-like and horrific river fish legacy from the haunted folklore of the B.C. Interior – the Chinlac Massacre at the Stuart and Nechako rivers; the mystery that surrounds the McQueen Lake Murder; the Rolling River Reserve phantom, and the milfoil-ridden figure that haunts Morfee Lake. The blood shaven and knife ritual haunting history of the northern B.C. Interior and its legacy prompted Muskellunge Of Dark Island to navigate the rivers until he encountered the blackened entity of Darke Lake. it presented him with supreme ritual and militant barrier possession as he stared into the grey darkness of the gravel-ridden shores leading to the dark waters that housed fish and haunted phantom beings. The possession was complete. Muskellunge Of Dark Island’s travels brought him to the ritual barriers and the barriers of the dark tunnel where the cold walls bleed with river water and constantly remind him of the violent militance and purity of the sweeper, the tailblock, the slash grind. —Depth Leviathan Dweller
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Legend
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Chinlac Massacre = Located just east of Vanderhoof, B.C. lies the ancient grounds of a First Nations village known as Chinlac. It has been told that around the year 1745 a Chilcotin chief led a war party to the area in order to avenge a killing. In turn, the men, woman and children from Chinlac’s resident Carrier tribe fell victim to a most gruesome slaughter. McQueen Lake Murder = According to legend, when the Dining House at McQueen Lake (northwest of Kamloops, B.C.) was first built, a cook was alone preparing for a huge party and was brutally murdered. Ever since, at around 7:20pm each night his final scream can be heard. rolling river reserve Phantom = The dark figure of a man allegedly follows lone hikers at night and watches over them from a distance as they navigate through the woods at the Rolling River Reserve near Erickson, B.C. Milfoil-ridden figure = Local folklore states that a young girl drowned in Morfee Lake near Mackenzie, B.C. Along with sightings of a strange apparition, her screams can be heard over the lake at night.
muskellunge of dark island / channel sweeper
BarRi er kult
The Range Of Propaganda chapter 3: crusade templar horse skeleton photos dylan doubt
In times of inquisition and plague-ridden militance stands a Kult member of a different colour. As you’ll learn, the all-whiteenshrouded figure known as Crusade Templar Horse Skeleton sometimes lashes out against the beliefs of his fellow Kultists. Such a clash was never previously thought of as possible by the growing underground network of BA.KU. followers. And while the haunting mysteries of this abrupt transition phantom may never fully be revealed, this morbidly cryptic third chapter uncovers just enough to make you fear the white knight at any given barrier session. —Frank Daniello
Many of the mythic stories surrounding the Barrier Kult members violently revolve around aspects of journey and dark adventure. These incredible true-life obsessed tales conjure images from Clark Ashton Smith’s ‘The City of the Singing Flame’ or Algernon Blackwood’s ‘The Regeneration of Lord Ernie’. But Crusade Templar Horse Skeleton’s journey through the barren and grey sickness of his European homeland is slightly different. His roots from the Dark Ages inherently represent abstract knighted Christendom – his violent psychosis and ethos within the BA.KU. circle even striking out at various Kult-titled members regularly. As with most forms of organized ‘religion’, the white knight eventually became a power within and outward of himself, and did so by carving a dark ocean creature-laden moat between himself and civilization’s law. As C.T.H.S. dons his white Barrier Kult cloth appendages and mask, one has a direct haunted possession from the dark ages of history coldly written into his fabric’s layers – histories of war and clashing, eventual government condemnation, and the flesh creation of the plague: the Black Death. As a white phantom on horseback sardonically investigating the huts and houses of infected Black Death, C.T.H.S. eventually ingests the mania of the plague - the grey flesh and rot that invokes purity, ascension, and truth. The great Amando de Ossorio told a story with moving images of the Knights Templar with a haunted and horrific vision of the knights ritualistically torturing townsfolk for their baphomet sea creature god. Condemned and burned alive, their eyes eaten by birds, they returned as rotted corpses on skeleton horseback to their original ocean strongholds - the caves symbolizing the carved and violent ramp-like transitions that would hold statues of the baphomet. The concrete statues eventually fell into the flooding caves and the white knights had to sail a ghost galleon to the west coast of the Americas where a fire discarded the Templar coffins, setting free the corpses to roam the familiar concrete. Crusade Templar Horse Skeleton is one such being that is directly part of this mythic lineage with flesh-plagued barbarism of the Middle Ages and an inquisitor’s rite to tight transition violence. —Depth Leviathan Dweller
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The City of the Singing Flame = a science fiction short story published in 1931 about a writer being “translated” into an alternate world of fantasy and horror. The Regeneration of Lord Ernie = a supernatural fiction short story published in 1914 about an unenthusiastic aristocrat who’s transformed when he witnesses a mystical ceremony. Amando de Ossorio (1918-2001) = this Spanish film director applied his concept of blind, undead Templar Knights into four films, the first being Tombs of the Blind Dead (1971). Knights Templar = donning the distinct white robe with a red cross, they existed for nearly two centuries in the Middle Ages as a vast, skilled fighting unit of the Crusades. Baphomet = a pagan deity the Knights Templar were accused of worshipping during their decline.
crusade templar horse skeleton - backside disaster
BarRi er kult / The Range Of Propaganda chapter 4: beast of gevaudan photos brian caissie
After a brief hiatus due to the release of the 2011 Concrete Photo Annual this summer, the Barrier Kult’s militant propaganda continues to spread its undead evil this issue. The Beast Of Gevaudan’s tale is riddled with dark root lineage that twists and intertwines at length from Europe to the British Columbia coastline dating back to the late 1700s. An eerie discovery on natural transitions in both Gévaudan, France and the Nootka Sound region in Canada comes full circle, which reveals the B.O.G.’s eternal penchant for tight transition violence as a key BA.KU. member. —Frank Daniello
The story of the Beast of Gevaudan is one of mystery and violence, but there are clues that link the beast to the forests of British Columbia. It’s a story of knife violence in south central France in the 1760s; one of the contracted killers of the Beast (Man Beast—beast of violence and fang knifing). One titled as Francois Antoine found clues to the obsessed mania of the “Black Haired Beast.” During one of the evenings of hunting, Antoine discovered a large grey rock fragment at the base of a large tree, which resembled a violent “ramp.” Upon returning, he inspected the fragment and carved upon it was a statement of prehistoric propaganda: “Home serre de violence de transition comme bete.” Which translated as the dark, cold, plague and tree rooted meaning: “Tight transition violence and man as beast.” In related dark mystery, Captain Cook’s haunted travels took him into the West Coast. In the 1770s, his anchored ships gave him and his crew opportunity to investigate the areas and practices of the Nootka First Nations. A legendary story, the visit had one of his crew members also discover a dark and haunted rainforest tree trunk that held a similar fragment of rock that had mysterious carvings inscribed: “Bestia de la transicion apretada de maderas knifing.” Which translated: “Beast of the woods tight transition knifing.” Horror was stricken into the mind of the crewmember; he remembered the legends of the wild man and cannibalistic woman of the woods: Dzunuk’wa. It was assumed that Esteban José Martinez wrote the text, but he did not reside in Nootka Sound until the 1780s. The dark mystery thickens, which in contemporary times the Barrier Kult’s Beast Of Gevaudan is representative. His acts of the human beast were spread from France to the Lower Mainland. His trickery is the key to his lineage in plague spreading through more lines of barrier knifing and the coarse fur bearing disease of BA.KU plague. Whatever militant and bestial forces drove the message of tight transition violence across the oceans, drove the B.O.G. to the shores of Canada’s West Coast.
—Depth Leviathan Dweller
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Captain Cook (1728-1779) = originally from Yorkshire, England, James Cook was an explorer, navigator and cartographer who mapped the entrance of the St. Lawrence River in Quebec during the Seven Years’ War (1756-1763). Nootka First Nations = named “Nootka” by Captain Cook in 1778 when he discovered Resolution Cove (Nootka Sound) on the west coast of Vancouver Island, the First Nations people of the area are actually called Nuuchah’nulth. Dzunuk’wa = a figure of mythology derived by the Kwakwaka’wakw First Nations group, whom originated on northern Vancouver Island. She is known to bring wealth, but is feared by children because she steals them with cannibalistic intentions. Esteban José Martinez (1742-1798) = a navigator from Seville, Spain, who was known for his exploration of the Pacific Northwest.
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beast of gevaudan - switch fs feeble 270 out
BarRi er kult / The Range Of Propaganda chapter 5: depth leviathan dweller & statue of the black crow photos dylan doubt
AS 2011 NEARS ITS END and layers of cold darkness descend upon the Lower Mainland, the Barrier Kult’s ritualistic tendencies fail to rest. In fact, shorter days mean longer nights of nature worship and tight transition violence with oversized wooden knives underfoot. To close the calendar year, a Kultist who chose to remain anonymous decided to excavate the tale behind one of BA.KU.’s originators, the Depth Leviathan Dweller—an oceanic worshipper, and our usual Range Of Propaganda penman. As well, Statue Of The Black Crow’s plague-spreading efficiency is revealed. BA.KU. doubles, if you will. Darkness at its finest. —Frank Daniello
Depth Leviathan Dweller had an early fascination and possession with the Ogopogo of Okanagan Lake from his roots in that region and the Interior of British Columbia. The ritual dark lake obsession, with repeated lake depths, mask and snorkel submergence to see shadowed carp lake shark coupled with the Interior violent K-Rail barrier sessions with the wooden knives, which resulted in a transplantation to the Lower Mainland for further obsession and depth blackness. The ocean shores and depths of the Lower Mainland brought Depth Leviathan Dweller’s exposure and immense possession from the Cadborosaurus and its relative and pawn, the Salmon Shark, which leads the Great White Shark from the dark predator grounds of the southern coast. These haunted giants lie in the darkness upon the shores of the Haida Gwaii, and the predatory nature of the Northwest coastal species influence the violent stabbing of Lower Mainland ritual barriers. Black occult ritual obsession and purity is focused on the violent transitions of worship; the Hackett Slash, the “proper” (Danforth) Blunt, the Tailblock—all culminating in militant, repeated, plaguespreading and grating truths upon Vancouver ritual barriers. Depth Leviathan Dweller is one of the Barrier Kult’s originators and primary plague spreaders, worshipping the Korai, Clark Ashton Smith, the Oceanic Whitetip Shark, the Bull Shark, knives of rippers and tight transition militance. Statue Of The Black Crow stares down from the moss-covered, dark elder trees of the Lower Mainland, staring across the lands for the realization, power, and sighting of the Harryhausen Roc, Geronimon, Rodan, and the Giant Claw. These formidable creatures emulate his power of plague spreading. The monster bird-like catastrophes make the earth and mass population its prey with their sheer size and destructive mainland and ocean routes. A more contemporary member of the Barrier Kult, Statue Of The Black Crow plays major roles in the decimation of plague articles prompting the possession and rituals from followers of the Barrier Kult. S.O.T.B.C. reenacts the concrete, soil and earth scraping of the monsters above, spreading possession even to the dark night airways as the populace falls prey to flying monsters.
—Anonymous Kultist
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Legend
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Cadborosaurus = an alleged sea serpent known to dwell in Cadboro Bay in Victoria, BC, with numerous claimed sightings over the past 200 years. Korai = or “kore” in singular form. These sculptures of Greek maidens are from the Archaic Period (800-480 BC). Harryhausen Roc = L.A.’s Raymond Frederick Harryhausen (born in 1920) created a brand of stop-motion model animation called “Dynamation.” A “Roc” is a giant mythical bird-of-prey from the Harryhausen-produced film, The 7th Voyage of Sinbad (1958). Geronimon = known as a 131-foot tall, 30,000-ton “monster chief ” from the Japanese TV series, Ultraman (1966-’67). This character appears in The Littlest Hero (ep.37). Rodan = a giant, mutated, flying reptile introduced in the Japanese film of the same name (1956), which was produced by Tomoyuki Tamaka.
statue of the black crow - backside tailslide depth leviathan dweller - blunt to fakie
BarRi er kult / The Range of Propaganda chapter 6: deer man of dark woods photos dylan doubt
SPREADING IDEOLAGY AS A PLAGUE begins with a powerful message and timeless actions. This becomes the vehicle that transports the “plague” great distances, and further propagating it. So it’s here that we end at the beginning, with Deer Man Of Dark Woods. Australia, Japan, China, the UK, South America, Hungary, Norway—these are just a few of the countries with subcultures influenced by his tight transition and nature worship. Often symbolically regarded as lead figure behind the Barrier Kult, it comes as no surprise that D.M.O.D.W. was summoned for the cover of our retrospective 100th issue back in 2009. This chapter consists of an entry penned by Deer Man himself, tracing back to 2002—the year when he was transformed by a new ideal, and the year when the Barrier Kult was spawned. —Frank Daniello
Still living in the British Columbia interior. The nights here along the forested roads are darker than one can imagine as there are no street lights for miles. While rolling home two nights ago, I noticed something 20 feet into the trees from the roadside ditch. I stopped to investigate, and saw an animal with a human head; the body contorted backwards so that it walked on arms and legs almost like a spider - a bastardized deer. The head had subtle elk-like horns and stared through me abysmally, looking toward the violent transition of a tree trunk with nature spiraling toward the black night sky and drawing down the moon. The sight drove me mad. I turned and ran back to the road, stumbling and flailing against the violent, grating walls of the asphalt ditch. The next day, I was changed. A renewed mindset forced me to leave any semblance of “normal” skateboarding, and the sponsors that weren’t representative of this new violent mandate were severed in order to retain purity. The Deer Man in the forest has left my brain swirling with a new mania. Violent transitions—the roadside barriers of asphalt and concrete are the driving force of this new haunted possession. The days of my skateboarding in the early ‘80s have manifested themselves into a new ascended skateboarding direction—a blood-ridden disconnect from today’s version of glorified freestyle skateboarding. I have possessed dreams of skills taken from the bastardly ‘90s that will help to spread propaganda for this new Kult movement and its eventual plagued followers. The experience has drawn one last addition to my now devoted mandate. A completion of what will become my life’s allegiance. Upon witnessing the wonderment and exquisiteness of such a beast as the Deer Man, my life’s work will be devoted to total equality between animal and man. I will go to war, defending the natural world against the torment they are forced to endure from religion and its false claims of superiority over animals. Swords drawn... to the death. —Deer Man Of Dark Woods, 2002 10
Concrete skateboarding
deer man of dark woods - Pivot to Front shuv